Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Uzbekistan and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1974.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
I'm losing my edge to the art-school Copenhagen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Mad Mike to the funk kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Jeff Lynne. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Gong,
Gil Scott-Heron and Jamie xx,
Lizzy Mercier Descloux,
The Motions,
Avey Tare's Slasher Flicks,
Graham Central Station,
The Misunderstood,
Rotary Connection,
These Immortal Souls,
Lakeside,
Aswad,
Los Fastidios,
kango's stein massive,
The Monks,
cv313,
Babytalk,
Bang on a Can All-Stars,
It's A Beautiful Day,
Jeff Mills,
Pantaleimon,
Robert Wyatt,
Notorious Big And Bone Thugs,
The Jesus and Mary Chain,
Reuben Wilson,
Basic Channel,
DJ Sneak,
Little Man,
Magma,
The Standells,
Interpol,
Anakelly,
Gian Franco Pienzio,
the Soft Cell,
DeepChord presents Echospace,
Junior Murvin,
La Düsseldorf,
Mary Jane Girls,
JFA,
Angry Samoans,
Shoche,
The Detroit Cobras,
Theoretical Girls,
Pete Rock & C.L. Smooth,
Isaac Hayes,
Nas,
8 Eyed Spy,
Howard Jones,
Mark Hollis,
Ohio Players,
Main Source,
Scientists,
Charles Mingus,
Ice-T,
Deepchord,
David Bowie,
Kauko Röyhkä ja Narttu,
Panda Bear,
Todd Terry,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.